The Psychological

I've often said that I'm not an emotional photographer.

In that, I don't use photography as an extension of my emotional self.

For me it's more an extension of my cerebral self.

Earlier this year I took the photo above.

While I think it's fair to say it in no way reflected my mood at the time, there is something mildly disturbing about it.

Mainly just cos it's dark and blurry though.

The Highconceptcommercialphotographer

Once upon a time I once had a thought about truly tackling the world of commercial photography.

So much so that, once upon a time, I spent a week in the studio working on a portfolio of images.

The initial shots were, well, mucky. But during that time I conceived something else.

Something original even (possibly, arguably).

Little did I know that my simple idea was going to be a hell of a difficult thing to actually capture in camera.

A hell of a difficult!! Because I had decided, even in those somewhat digital days, that I wanted to make as much of the image in-camera, with little post-production.

Each set up took two days to not get a fully realised version.

And I always thought there should be 3 photos in the series, but I couldn't come up with a decent third idea.

Needless to say, these amounted to nothing. The photos needed grading etc. From someone other than me.

I moved on to other things. So the many, many sheets of film I shot that week have languished unseen in storage for the past four years.

Until now.

The Worldfamouswildlifephotographer

Having recently failed to be named New Zealand Geographic Photographer of the Year this year, on my recent roadtrip I decided I was going to reassess my approach to nature photography in order to become the Worldfamouswildlifephotographer lurking in side of me.

Here are my first attempts at producing work that will be completely ignored by anyone with taste and classical/modernist ideas about what nature photography should be.

It might even upset a few people.

Cool.



And the coup de grâce ...

The Stroke

"On June 11 this year musician, artist, father, writer, film critic & jandal wearer Chris Knox suffered a life-altering stroke at his home in Grey Lynn."

"The double CD ‘STROKE – Songs For Chris Knox’ is being released in New Zealand on Monday November 16."

Though if, like me, you pass by Slowboat Records you can pick up your copy today.

It's 35 tracks - 32 cover versions by local and overseas musicians, some well known/famous, some unknown (to me) and 3 previously unreleased tracks.

I'm just listening to it for the first time. Like any similar kind of compilation there are good tracks and not so good tracks:

some folk have really taken liberty (for good or bad)
sadly some haven't (usually for bad)
as much as I like The Chills I don't think I've ever heard them do a decent cover
Boh Runga's Not Given Lightly wasn't as bad as feared but I'm over that song, regardless of who's singing
Red & Zeke (who don't exist according to Google) do great bluegrass
The Checks need to stop imitating so much
It's nice to hear solo Bathgate doing solo Knox
Don McGlashan does cheese?!
when John Darnielle is good, he's excellent
the Finns do Knox, not something I would have expected but they do all love The Beatles

Regardless, as it says on the cover "The artists & musicians involved have donated their time & talent so that all proceeds can go towards assisting Chris with his recovery" so you know it's a good cause.

"The stunning cover was designed by Chris’ fellow Tall Dwarf, Alec Bathgate and uses Chris’ favourite colour combination of yellow & black." But if, like me, you pass by Slowboat Records you too can allow them to add their own bits of yellow and black to the design. Sweet.

The Valid

I've already Facebooked this (come on be my [Facebook] friend) but it's so exciting that I have to leak it all over the net (get it?!).

I have been publicly validated. I will even forgive them the copyright infringement.

I was privately validated on the weekend. When complete strangers (okay I knew who they are) clearly engage with and then compliment you on your work it is validating.

For a while this year I had the feeling that no one was engaging with my work. I know there were times when I was struggling with the engagement myself. Clearly though, the message is there; it just requires some thought to extract it.

For the record my installation includes seven works and is on show at Massey School of Fine Art until Sunday (I think).

The Beach

After here we went here.

One of my all time favourite photos is a Joel Meyerowitz shot of washing on a line.

Consequently I rip it off on an irregular basis.

That's the beach.

That's the steps.

That's the crooked horizon they have in those parts.

The Vague

Told ya I was headed here.

Not that you can really tell from the photos.

So you'll just have to take my word for it.

The Travelling

I think I'm staying here tonight.

Not this specific building.

But this city.

The Distance

We were near here on the weekend.

When I say near, I mean we were within driving distance.

We did pop into Palmerston North and Thermostat - and had a nice little gathering of Wellington escapees.

But we were headed for Wanganui and galleries and people and chat and music and lots of tea.

The Release

Media Statement
For immediate release
14 October 2009

Andy Palmer at Suite

Photographer Andy Palmer’s upcoming show Belonging & Becoming is tackling the topic of appropriation.

Palmer is taking a bold step – as a photographer – of posing the age old question of the right of the photographer to ‘claim’ something as their own.

His works are photographs of distinctly Maori objects, primarily carvings, in public spaces, which Palmer collected on his travels around the North Island. While his work is a celebration of Maori culture, Palmer is also asking his audience to consider them as part of a wider New Zealand culture too. Asking at what point does public art become the property of the public?

Much of Palmer’s earlier work can be read as an examination of history – his own, and New Zealand’s – occasionally overt, but usually as a subtext within a broader theme. Belonging & Becoming can be seen as an extension of this exploration.

Belonging & Becoming will show at Suite from 21 October until 7 November along with …a poorly remembered childhood by David Boyce.




Media Statement
For immediate release
14 October 2009

2009 Waikato Art Award finalist to show at Suite

New work by China-based New Zealand artist David Boyce will open on Wednesday 21 October at Suite.

... a poorly remembered childhood has grown from David’s interest in issues of identity and memory and from revisited places that were significant in his childhood, or that may have significance.

Boyce, whose work has been exhibited in New Zealand, China and the US and who was a finalist in this year’s Waikato Art Award, has created a series of small, intimate and dream-like images that explore childhood memories and also ask questions of the meaning and fallibility of memory.

All the images are from Christchurch, where he was born, and where he left in 1985. The photographs, which have been taken from the eye level of a small child are cultural memories – Christchurch’s war memorials and statues; others are personal - sports fields, picnic spots and Christchurch’s botanical gardens, all places he spent time with friends and family. Some images are important to him, but he doesn’t remember why. That part of the memory has gone. Only an essence remains.

Hong Kong curator and writer on photography Davina Lee, writes, “Boyce’s blurred images evoke the imperfect recollections of childhood, trapping remnants of memory, real or imagined within landscapes that were once familiar”.

Other critics, commenting on earlier works have noted his “particular ability to perceive and manipulate beauty from the most unexpected and mundane of sources”.

Preparations are underway to show ... a poorly remembered childhood in China and Europe within the next year.

…a poorly remembered childhood will show at Suite from 21 October until 7 November along with Belonging & Becoming by Andy Palmer.

And, in case you missed it, the invitation.